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Citations since 2016
9 Research Items
August 2014 - May 2018
- Graduate Teaching Assistant
Background: In 2014, the College Music Society released a report on adapting the modern US undergraduate music curriculum to meet the needs of the "21st-century educated musician" (Sarath et al. 2014, rev. 2016). Demands for reform in music theory (i.e. Chattah et al. 2016; Ewell 2020) have echoed similar needs, including that of musical style dive...
Unlike curricular redesigns which layer diverse musical styles over an existing lesson structure, we propose a thorough reimagining of the four-semester theory curriculum that prioritizes vocational relevance for the modern musician, emphasizes competence in analysis, creation, and appreciation, and is designed from its foundation to exist in a cul...
A hallmark of music analysis is the identification and categorization of musical patterns into stylistic templates. These templates can be used for evaluating other pieces or comparing music across styles. This analytical process is akin to schematic learning in psychology: repeated experiences develop probabilisitic templates that guide expectatio...
This paper formalizes the harmonic norms of a popular music corpus (the McGill Billboard Corpus; Burgoyne 2012) by reconceptualizing harmonic objects as progressions, eschewing single chords or functions as the most salient cognitive entities learned through enculturation. While recent music-theoretical work uses computational methods to analyze ha...
The Early Right Anterior Negativity (ERAN) is correlated to music-syntactic processing (Koelsch et al., 2013; Koelsch, 2010) and is elicited as a response to aberrations in common-practice harmonic progressions. It is also significant despite participants’ musical training, age, or attention. This ERP, however, is found using experimental designs t...
Paper retitled: The Gap and Its Effects on North American Music Theory Part of Plenary Session on Women and Analysis
WE REPORT TWO EXPERIMENTS EXPLORING whether matched metrical and motivic structure facilitate the recognition of melodic patterns. Eight tonal melodies were composed from binary (four-note) or ternary (three-note) motivic patterns, and were each presented within a metrical context that either matched or mismatched the pattern. On each trial, partic...
As an advocate for equal representation of and opportunity for minorities and women, I have been part of many organizational efforts and programs. As such, I also develop projects for, research, and empirically study the gender and minority gap in academia and diverse curriculum reform.
This project includes various analytical queries involving the symbolic McGill Billboard Corpus in order to model our expectations for a popular style. This work relies on the assumption that we implicitly learn musical style through exposure. Using information theory methodology to segment harmonic successions of the corpus, I arrive at notions for expectation and tonal function based on measurable uncertainty (entropy).